Male Vocal Range and Voice Type | Your Personal Singing Guide Male Vocal Range and Voice Types! There are many vocal ranges and voice types for males, and this section will discuss the 4 main types of male voices, their respective pitch ranges, unique tonal characteristics, as well as how their tessituras or most comfortable voice ranges differ from each other. One important point to note: These 2 terms – Vocal Range and Voice Type – are not to be confused with each other. The Range of our Voice refers to the range of notes that our voice can reach or produce a sound at, whereas the Type of Voice refers to the various kinds of voices classified using certain criteria like range of vocals, tessituras, register transition points, vocal timbre or tone and so on. Click on the links provided above to understand more about how to find your own vocal range, as well as how to determine your own voice type using the various criteria! Now, the 4 main types of male voices are as follows: 1. Countertenor Let us look at each of these male voices in more detail: 1.

COUNTERTENOR The Countertenor Voice may actually be unfamiliar to those of us not from the classical realm, as many of us would probably only have heard of the 3 main male voices – Tenor, Baritone and Bass. The Countertenor voice is the highest of the adult male voice types, and has a vocal range that is similar to that of the Female Contralto Voice, the lowest of the female voice types! In the Mandarin pop scene, certain singers like Jeff Chang and the lead singer of popular pop rock band Soda Green would probably qualify as countertenor voices! An approximate Countertenor Vocal Range would be from a G note below the middle C (G3) to a high F one octave above the middle C (F5). Be sure to support your voice well with your breath so as to get a more accurate representation of the range in your voice. Check out the section on ‘How to Find Your Singing Range and Voice Type’ to get some tips on finding your range on your own! Also, the Tessitura or most comfortable singing range for Countertenors lies above that of the Tenor and other adult male voices.

The Countertenor voice would usually be able to sing the high head voice notes with great ease and brightness in tone, and would often be confused by many listeners with regular female voices. 2. TENOR The Tenor Voice is the highest of the main male vocal types that most people would be familiar with, with the typical tenor vocal range lying between the C note one octave below middle C (C3) to the C note one octave above middle C (C5)! This means that it would lie just slightly below the Countertenor voice, but has similar characteristics in the sense that the Tenor would also be able to sing most high notes with ease and vocalize the head voice notes with strength and brightness! The Tenor voice would probably transition into his middle voice around the D or E note above middle C (D4 or E4) and shift into head voice around the F sharp or G above middle C (F4 or G4). The tenor tessitura would lie between that of the Countertenor’s and the Baritone’s.

Do make sure that we avoid certain common singing problems like jaw tightness when we attempt to find out where our vocal register transitions lie, as this will affect the notes at which we transition, affecting the voice type we may classify ourselves to be! Famous Tenor voices include the 3 Tenors – Luciano Pavarotti, Jose Carreras and Placido Domingo, as well as other classical singers like Enrico Caruso and pop singers like Elton John, Stevie Wonder. In the Mandarin pop scene, JJ Lin Junjie and Jay Chou would probably be considered Tenor voices too! 3. BARITONE Most men would have a vocal range similar to that of a Baritone voice, as this is the most common of the male voice types! A typical Baritone Voice Range would be between the A flat note one octave below the middle C (A Flat 2) to the A flat note above the middle C (A Flat 4). The Baritone Voice would transition into middle voice somewhere around the A or B note just below middle C (A3 or B3), and move into head voice somewhere at the D or E note just above middle C (D4 or E4).

Also, the baritone tessitura would lie somewhere between the Tenor and the Bass tessituras, and the baritone voice would be strongest in the middle range pitches. Famous Baritones include John Charles Thomas, Lawrence Tibbett, Leonard Warren and Robert Merrill. In the Mandarin pop scene, the iconic Andy Lau would qualify as a baritone singer. 4. BASS The Bass Voice is the lowest of the male voice types. It is also quite rare to find a good bass voice, which means that bass singers will be very much in demand in choirs and also in A Cappella groups! Famous Bass singers include Barry White, James Morris and Samuel Ramey. Bass singers would be strongest in their low voice, with a deep and dark booming quality to his voice, somewhat like how a sub woofer speaker may sound! The Bass voice would have a vocal range of between the F note 1 octave below the middle C (F2) to the E note just above middle C (E4). He would also have a tessitura or most comfortable voice range that is lower than the Baritone’s.

The Bass voice would probably transition from chest voice to middle voice somewhere around the A or A flat note just below the middle C (A3 or A Flat 3), and then shift into head voice somewhere around the D Flat note just above middle C (D Flat 4). Understanding more about the 4 main male voice types and their vocal ranges helps us to be able to understand more about our own voice as well as which voice type we may belong to. Knowing our voice type will help us to determine the various keys or pitches with which to do our vocal warmups before we sing, so as to achieve maximum desired effect! Achieve A Singing Voice You Can Be Proud Of ! Hit Higher Notes, Avoid Embarrassing Voice Breaks, And Achieve Vocal Mastery and Understanding ! The Ultimate Vocal Training System is a comprehensive online training system that will provide targeted solutions to vocal problems that you are facing, allowing you to sing higher in your vocal range, avoid sore throats or vocal swelling after a long night of singing, and avoid embarrassing vocal breaks or cracks in the range!

This comprehensive vocal training system is divided into a total of 10 Modules consisting of 80+ training videos and other pdf resources, covering topics like breath and voice production, vocal folds and how they work, voice projection and a simple trick that will give you more singing power, as well as pitching and aural awareness training too! What is The Difference Between Baritone and Euphonium ( Disqus: User Comparisons ) Baritone A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice types. baritone adj : lower in range than tenor and higher than bass; "a baritone voice"; "baritone oboe" n 1: a male singer [syn: {barytone}] 2: the second lowest adult male singing voice [syn: {baritone voice}] 3: the second lowest brass wind instrument [syn: {baritone horn}] low-pitched \low-pitched\ adj. 1. low in pitch or frequency; -- used of sounds and voices. Opposite of {high-pitched}.

[Narrower terms: {alto, contralto ; {baritone ; {bass, deep ; {contrabass, double-bass ; {throaty ] Syn: low. [WordNet 1.5] 2. set at a low angle or slant; having a low degree of pitch; as, a low-pitched roof. [WordNet 1.5] Barytone \Bar"y*tone\, Baritone \Bar"i*tone\, n. [F. baryton: cf. It. baritono.] 1. (Mus.) (a) A male voice, the compass of which partakes of the common bass and the tenor, but which does not descend as low as the one, nor rise as high as the other. (b) A person having a voice of such range. (c) The viola di gamba, now entirely disused. [1913 Webster] 2. (Greek Gram.) A word which has no accent marked on the last syllable, the grave accent being understood. [1913 Webster] Barytone \Bar"y*tone\, Baritone \Bar"i*tone\, a. [Gr.

bary`tonos; bary`s heavy + to`nos tone.] 1. (Mus.) Grave and deep, as a kind of male voice. [1913 Webster] 2. (Greek Gram.) Not marked with an accent on the last syllable, the grave accent being understood. [1913 Webster] Baritone \Bar"i*tone\, a. & n. See {Barytone}. [1913 Webster] Related comparisons What does baritone mean? a word which has no accent marked on the last syllable, the grave accent being understood Freebase(0.00 / 0 votes)Rate this definition: Baritone A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice types. It is the most common male voice.

Originally from the Greek βαρύτονος, meaning deep sounding, music for this voice is typically written in the range from the second F below middle C to the F above middle C in choral music, and from the second G below middle C to the G above middle C Chambers 20th Century Dictionary(0.00 / 0 votes)Rate this definition: Baritone The numerical value of baritone in Chaldean Numerology is: 9 Pythagorean Numerology Improve your singing voice. Vocal instruction for singers - DVDs, books and CDs. Vocal Technique In the days of American (and other national) Idol, everyone wants to learn how to sing. If you don't have the time, money or access to expensive training, the next best (and we do mean the very next best) thing is self-education.

With materials from organizations like The Musicians' Institute, the famous Berklee School of Music, the Brighton Institute of Modern Music, The Westminster Vocal Institute, and some from international-caliber independents who have worked with many famous and less-famous singers over the decades, these books let you learn from many of the best, and set you on the path to being the next Kelly Clarkson instead of the next William Hung! Vocal Warm-ups Vocal health is imperative for every singer and taking care of such a valuable instrument as your, or your students, voice should never be overlooked. We include here vocal warm ups and exercises, in a variety of styles, for both the solo voice and for choirs. We know that we all want to think that the greatest singers out there can just roll out of bed and sound like the best thing since sliced bread, but the truth of the matter is that no matter who your hero is, he or she preserves their vocal health and takes care of their instrument - with warm-ups.

Whether you're a jazz singer, a pop singer or a choir member, whether you're warming up your own voice or that of the 50 singers around you, we've got the warm-up techniques and exercises you need right here, both for solo voices and choirs. Vocal Coach Methods We can't all take private lessons with famous, world-class vocal coaches and instructors, but we can all learn from them. This is an all-round package area - you can watch demonstrations, listen to performance examples, and when that's all done, pick up one of the books and find out the secrets, the thoughts, behind the how's and why's. Some of these amazing instructors and teachers are sharing just about everything you need to know, from performance basics to understanding music industry contracts. If you want to sing professionally, or even just well, you need these lessons. Vocal Improvisation Some people wonder whether spontaneous creativity is something you can learn. If these spectacular instructors are anything to go by, you absolutely can. Whether it's scatting or improv, the world-class instructors we've got for you here will share their knowledge and you'll have a great time learning it.

Most of these titles are CDs and books packaged together, so you can listen to the magic while you read about it. Instructional DVDs and Videos Have you ever wanted a private, one-on-one, with some of the top instructors out there? Well, then, this is the category for you. We've got voice technique, theory, vocal workouts and warm-ups, and entire workshops for your group. Whether you're looking for basic rock vocals, breathing technique, what exercises will keep your voice sounding its best, or how to develop a singer's ear, in the videos & DVDs we've got here, you'll find the instruction you're looking for. For Beginners - The Vocal Basics There’s a reason those “for Dummies” books are so popular  it’s because they’re so useful. If you’re the shy type, scared to open your mouth and show how little you know, invest in one of these beginners’ books, CDs and DVDs, and open your mouth to sing proudly! One major complaint of vocal instructors is those students who come to them with bad habits that they need to unlearn.

With the products we have here, in our “Basics for the Beginning Singer” category, you can skip that whole learning-bad-habits thing and just learn how to do it right from day 1. How could that be a bad thing? Performance Tips What many singers don’t realize is that there is more to being on-stage than what comes out of your mouth. Performance includes everything else  from sound check and microphone technique to your facial expression and your body language. A good performer learns to take care of their body and their voice, how to avoid burning out or doing a stale, “phoning-it-in” performance, and how to develop that healthy positive mental attitude that makes each performance that kind of special event the audience members will remember for years. Some top instructors and coaches have shared their wisdom in how to accomplish all that in the books, DVDs and CDs we have here  so why not partake of their wisdom? Arranging for Vocal Harmony Groups If you've ever wanted to learn the difference between transcribing someone else's arrangement and coming up with your own expression of creative genius, look no further for your inspiration. If you've wondered what U.S. copyright laws cover arrangements, we've got that for you, too.

Even if you simply wanted to learn proper music notation and the right way to create a music manuscript, it's in here. With these books & videos, absorb the lessons of more than a dozen award-winning arrangers here, covering everything related to the act of setting music down in writing. Harmony Singing If you weren't into harmony, you probably wouldn't be on the Primarily A Cappella website, so we'd be preaching to the choir (pun not intended) if we tried to explain just how beautiful, how wonderful, harmony singing is. So if you want to learn how to do it right, well, you've come to the right place! Read the theories of Western harmony, learn how to harmonize in multiple musical styles (contemporary, barbershop and more), and then hear or watch it on accompanying tapes & CDs/DVDs. Vocal Percussion One of the great things about the vocal band and contemporary a cappella movement is the advent of vocal percussion. Around for many years, vocal percussion is now an integral part of so many of the best groups out there.

Even if you've never tried VP, you can imagine by watching your favorite percussionist that, wow, this stuff is hard - and amazing to listen to. And now, you can learn from the best out there. The House Jacks' Wes Carroll has brought his percussing to Canada, Japan, Singapore, Germany, Italy and elsewhere, as well as many corners of the U.S. Here's your chance to have a nice, private lesson with him in the comfort and privacy of your own home. And then when you've finished learning from Wes, try percussing along with Sam Rogers, a true "one-mouth band!" Vocal Health Like any instrument the voice must be taken care of properly and unlike other instruments your voice is the only one you will have nor can you take it to the shop to get fixed. One must also do proper warm ups and exercises and to be careful not to strain the voive however sometimes things go wrong. We have here a wide selection of material from experts in the field who will tell you how to protect your voice and how to fix it if you are having difficulties.

Jazz Singers Books, videos, CDs, plus some packages that pair books and CDs - everything you need to learn to sound like your heroes is right here in our vocal jazz instructional section. Whether you're at the beginner level or have been singing jazz for a while and want to improve your abilities, there's something here for you. These are world-class, internationally-renowned educators, and it's a can't-miss opportunity to learn from them without having to pay tens of thousands of dollars in tuition to Berklee, Western Michigan, UCLA Pop Singers Come on, ‘fess up. You want to be able to sing like Destiny’s Child, Seal, Kanye West or one of the other big contemporary stars. So why not learn how to do it? Whether it’s ear training, sight-reading, warm-ups and work-outs, or first aid for your voice, the skills you’ll pick up here will hold you in good standing no matter what kind of singing you do, and as an added bonus, most of these books have a special focus on contemporary music. And the writers here have the chops to stand behind their work  why not learn from Bobby McFerrin’s vocal coach? Or maybe the Beach Boys’ coach?

Rock Singers If you’re a singer, then probably at least once you’ve wished you could sound like those guys on the radio… the ones with the albums that sell hundreds of thousands of copies and tour the world. Well, THIS is how you learn to sound just like those guys on the radio. These books, CDs and videos will teach the aspiring rock star how to emulate the greats, with tips on everything from microphone technique to the benefits of licorice root. Here, you’ll learn about the full importance of diet, posture and breathing techniques, gain insights into training, embellishment and sight-reading, plus the consequences of liquor, cigarettes and coffee, and so much more. Have a seat, pull up a book, and explore. Blues Singers There’s so much to learn in the books, DVDs and CDs here, it’s almost too much to go into, but we’ll give it a try. The subjects include: syllable articulation, accents, ties, octave slur, imaging, shading, squeezing notes, vocal range, major and pentatonic scales, tempo, phrasing, call-and-response, head voice, vocal maintenance… phew! And that’s just the beginning.

With award-winning instructors taking you from the very basics to a comfortable skill level, if you’re interested in learning to enjoy your bluesy side, c’mon over and pull up a DVD or book. Choral Singers A good choral group makes it all sound so easy, as they sweep you away with their music. With these instructional and developmental works, your choir, too, can fool the audience into thinking it's a breeze. From the basic beginnings of forming the choir, up to the complexity of gaining that world-class sound, in every genre of choral music, it's all here, in book, video & DVD format. Barbershop Singers Certainly one of the most unique styles of vocal harmony singing this great American tradition is sung by tens of thousands of aficionados around the world. The joy and camaraderie of four-part close harmony singing is tough to beat and we offer here a selection of materials to help the barbershop singer improve their craft and to help get more out of their voice.

Bluegrass Singers Bluegrass and Old-Time harmony vocals are usually: a lead part (the melody); a tenor (high); plus for trios a baritone (usually just below or above the lead), and for quartets a bass part (right at the bottom). Generally, men’s vocal ranges are between G above middle C and the G two octaves below that; of course only a very few men have that whole two octaves  someone with a high range will sing ‘tenor’ and with a low range will sing bass  lead and baritone somewhere in the middle. Within a group, you are likely to find enough variation; many classic tenor singers (e.g. Bill Monroe, John Duffey) also sang lead  hence the ‘high, lonesome sound’. Opera and Classical Singers Opera is part of the Western classical music tradition and to sing opera is one of the most challenging yet rewarding styles of singing one can perform. To be a true professional takes years of training and professional coaching however the amateur or aspiring singer who enjoys belting out an aria can learn a lot and have fun without dedicating one’s whole life.

We offer here some books of advise from some of the most famous classical singers along with time-proved methods and exercises that have been helping to train classical voice for many years. Musical Theater Singers Everybody loves a show tune and every singer should have in his or her repertoire a selection of some of the great Broadway (and West End) songs. Being a triple threat in theater is quite the accomplishment and can lead to more roles for the performer. To reach that goal a little extra help is always worthwhile. We offer here advice and information from theater directors and singing coaches along with a selection of musical theater songbooks that are useful for auditions, performances or just singing along with for fun. Also for practicing and rehearsing these books can be most benefical for the singing actor. Teaching Kids to Sing One of the hardest things a voice teacher has to do is to help a singer lose their bad habits, and we all know how well ingrained a bad habit can be. With the products available here, your kids will be able to skip the bad habits stage and go right into being good singers. What could be better?

Without being so childish as to bore the kids, these works are aimed at teaching younger singers in techniques that work with the sweeter, tender voices of youthful singers. They cover the vast array of skills and techniques a choral director, conductor or teacher, with examples from some of the most prestigious children’s choirs from around the globe. Ear Training There's more to singing than the voice - the ear plays almost as important, if not as important, a role. So while you're training your voice, make sure you don't neglect the ear. These books, book/CD sets and DVDs are from renowned instructors and directors from the Berklee School of Music, the Musicians' Institute, The Westminster Vocal Institute and other prestigious organizations dedicated to making beautiful sounds. You can't go wrong with anything you find here, and you'll hear the difference in your work quickly. Sight Singing Have you ever seen someone pick up a chart and deliver an almost flawless performance on their first reading? Sometimes it's talent, but you did know that it's also a learned skill, right? And here's your chance to learn it. We've got books for teachers of primary and secondary-school singers, as well as those written for the adult singer.

You wouldn't think sight-singing could be made easy, but that's because you haven't read these books (or listened to the accompanying CDs & tapes) yet. Diction for Singers Sometimes overlooked by modern singers correct diction has always been considered of vital importatance in the performance of a song. These books and CDs will help all levels of singers to improve their interpretation of songs in many languages including of course the unique American diction. American Idol As one of the biggest shows ever on TV this program has been tremendous in bringing great attention and reward to singers and to the art and skill of singing. The show has also produced a line of instructional materials and songbooks from some of the top vocal coaches in the country to help singers improve and we are pleased to offer them all here. Guides to a Career in Singing A good university program in vocal music will teach you not only how to use your voice and when, but how to manage that career in singing that you aspire to. The problem is that we can’t all get into those good university programs in vocal music… Well, now you don’t have to!

This is where you get to learn the business side of the music business  everything from your demos to contract riders, dealing with interviews, how to survive as a freelancer, management, touring, on-stage communications, and more. Heck, even if you aren’t a singer but want a career in the music business, this is the place to go. Vocal Pedagogy We’ve all had that music teacher or choir director who made music fun for us. We’ve admired these people, and their knowledge. They had that spark we wanted to share… and here, we can. Some of the most important things for a healthy singer to know about producing a clear, strong and reliable voice are here in these books  and more importantly, they will teach you how to teach it to others. Whether you’re teaching adult sopranos or kids, teaching sight-singing or Jazz, take a wander through this section and enjoy. The Speaking Voice Although we specialize in the singing voice there are other uses, of course, for a great voice. Many people have reason to speak in public and doing so comfortably and professionally can be of great advantage.

We offer here a selection of books and CDs from some of the top coaches in the business whose expertise can help you get the most out of your speaking voice. Reference Books for Singers This is the place to go if you just know you know so little that you don’t know where to start! Dictionaries! Guides! Planners! How to’s of the very basic level abound here. But even if you’re past the basics, don’t skip this page  there’s always something new to learn, even for the most experienced of performers. Do you know how to sign your performances, opening it up to a whole ‘nother audience? How’s your diction? How fresh are you notation skills? What about your knowledge of copyright? And we also have a guide to walk you through the special magic of recording vocals Voice Part Learning CDs You've heard the greats sing and wondered, "how can I sound like them". These CDs are one place to start. Whether it's proper warm-up technique, expanding your range, or simply learning how to breath while you sing, these instructional recordings cover it all. And we've got parts-CDs, too.

Don't just read the arrangement, hear how the parts are supposed to sound, hear someone demonstrate what you're supposed to sound like. If that doesn't make the learning process simple and painless, nothing will. Solo Voice Songbooks There are many ways to become a successful vocalist and having a wide repertoire of recognizable songs to which you know the lyrics and feel comfortable singing is a prerequisite. We carry a wide selection of songbooks for the solo voice almost all of which have an accompaniment CD included which can be a great help for singers wishing to widen their repertoire. Useful for both practicing and performing one doesn’t need to have an accompanist, let alone a whole band, to be able to deliver a song professionally. Many of the accompaniment CDs are enhanced and can be played in your computer where you can adjust pitch and experiment with different ways of performing the songs. Whether for auditions, events, parties or in your living room these books are a fun and useful way to improve your singing voice. Pitch Pipes The Pocket Tones are a handy, durable and compact device, which may be carried in your pocket or purse as a key fob; or they can fit conveniently in an instrument case for accurate tones whenever you need them.

Use Pocket Tones to develop excellent pitch recognition  it is the perfect answer for an immediate tone, and it is always at hand. Soprano Voices - A soprano is a singer with a voice that usually ranges from middle C to "high C", two octaves above middle C. Alto Voices - An alto or contralto is a singer with a vocal range somewhere between a tenor and a mezzo-soprano. The term is used to refer to the lowest female singing voice. Mezzo-Soprano Voices - A mezzo-soprano (meaning "medium" or "middle" "soprano" in Italian) is a type of classical female singing voice whose range lies between the soprano and the contralto singing voices, usually extending from the A below middle C to the A two octaves above. Tenor Voices - The name "tenor" derives from the Latin word tenere, which means "to hold". In medieval and Renaissance polyphony between about 1250 and 1500, the tenor was the structurally fundamental (or holding) voice, vocal or instrumental.

Bass Voices - A bass (or basso in Italian) is a singer who sings in the deepest vocal range of the human voice. A bass has a range extending from around the F below low C to the E above middle C. Baritone Voices - Baritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Music for this voice is typically written in the range from the second F below middle C to the F above middle C. Tenor T Tenor The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C (A4) in choral music, and up to high C (C5) in solo work. The low extreme for tenors is roughly B♭2 (two B♭s below middle C). At the highest extreme, some tenors can sing up to two Fs above middle C (F5). Within opera , the lowest note in the standard tenor repertoire is A2 (Mime, Herod), but few roles fall below C3 (one octave below middle C).

The high extreme: many tenor roles in the standard repertoire call for a "tenor C" (C5, one octave above middle C). While some operatic roles for tenor require a darker timbre and fewer high notes, it is generally accepted that any tenor should be able to sing with a full timbre up to an A4. In the leggiero repertoire the highest note is an F5 (Arturo in I puritani), therefore, very few tenors can have this role in their repertoire. Within musical theatre, most tenor roles are written between B♭2 and A♭4, especially the romantic leads, although some fall as low as A♭2 (such as Anthony in Sweeney Todd) and others as high as D5 (such as Man #1 in Songs for a New World). Origin of the term The name "tenor" derives from the Latin word tenere, which means "to hold". In medieval and Renaissance polyphony between about 1250 and 1500, the tenor was the structurally fundamental (or ‘holding’) voice, vocal or instrumental.

All other voices were normally calculated in relation to the tenor, which often proceeded in longer note values and carried a borrowed Cantus firmus melody. Until the late 15th century introduction of the contratenor bassus, the tenor was usually the lowest voice, assuming the role of providing a harmonic foundation. It was also in the 15th century that "tenor" came to signify the male voice that sang such parts. Thus, for earlier repertoire, a line marked 'tenor' indicated the part's role, and not the required voice type. Indeed, even as late as the eighteenth century, partbooks labelled 'tenor' might contain parts for a range of voice types. Tenor in choral music In four-part choral music, the tenor is the second lowest voice, above the bass and below the soprano and alto . While certain choral music does require the first tenors to ascend the full tenor range, the majority of choral music places the tenors in the range from approximately B2 up to A4. The requirements of the tenor voice in choral music are also tied to the style of music most often performed by a given choir.

Orchestra choruses require tenors with fully resonant voices, but chamber or a cappella choral music (sung with no instrumental accompaniment) can rely on light baritones singing in falsetto . Even so, one nearly ubiquitous facet of choral singing is the shortage of tenor voices . Most men tend to have baritone voices and for this reason the majority of men tend to prefer singing in the bass section of a choir (however, true basses are even rarer than tenors). Some men are asked to sing tenor even if they lack the full range, and sometimes low altos are asked to sing the tenor part. The late 19th century saw the emergence of male choirs or TTBB (Tenor1, Tenor2, Bass1, Bass2). In the USA these are sometimes called Glee Clubs. The Welsh choirs are perhaps the best personification of this type of choir. Male Choirs sing specially written music for male choirs, music adapted from mixed sex choirs and in most genres including classical, sacred, popular and show. Male choirs differ from Barbershop choirs in that they usually sing accompanied, often by but not restricted to a piano.

This means that the Male Choir uses piano harmonic tuning or tempering whereas Barbershop is unaccompanied. In Male Choirs, tenors will often sing both in chest tone and falsetto. As a result, a male choir has a wider pitch range than one consisting only of females. Some examples of male choirs are: The Morriston Orpheus Welsh Male Voice Choir, the Sydney Male Choir and the Treorchy Male Choir. There are some impressive male ensembles in the Russian Orthodox Church choral tradition and also there are some excellent Jewish ensembles. Other uses There are four parts in Barbershop harmony: bass, baritone, lead, and tenor (lowest to highest), with "tenor" referring to the highest part. The tenor generally sings in falsetto voice, corresponding roughly to the countertenor in classical music, and harmonizes above the lead, who sings the melody. The barbershop tenor range is B♭-below-middle C (B ♭ 3) to D-above-high C (D5), though it is written an octave lower. The "lead" in barbershop music is equivalent to the normal tenor range.

The term tenor is also applied to instruments, such as the tenor saxophone, to indicate their range in relation to other instruments of the same group. In bluegrass music, the melody line is called the lead. Tenor is sung an interval of a third above the lead. Baritone is the fifth of the scale that has the lead as a tonic, and may be sung below the lead, or even above the lead (and the tenor), in which case it is called "high baritone." A tenor is also classified as a drum used in a drum corps. or drum-line. The tenor drum consists of 5 or 6 drums of different tones, 4, 3, 2, 1, and one or two spocks. 4 is the lowest sounding drum and the right spock is the highest sounding drum. Tenors are also referred to as quads because of the four main drums, or quints including the spocks. The tenors, in a drum cadence, are usually a combination of bass drum and snare drum beats to give the cadence more of a groove.

Though strictly not musical, the Muslim call to prayer (azan) is always chanted by tenors, possibly due to the highly placed resonance of the tenor voice which allows it to be heard from a longer distance than baritones or basses during pre-amplification times. Some such chanters (termed bilals) may modulate up to E3 in certain passages, while incorporating a distinctive Middle-Eastern coloratura run. Tenor voice classification Within Choral and pop music , singers are classified into voice parts based almost solely on range with little consideration for other qualities in the voice. Within classical solo singing, however, a person is classified as a tenor through the identification of several vocal traits, including vocal range (the lowest and highest notes that the singer can reach), vocal timbre , vocal weight, vocal tessitura, vocal resonance, and vocal transition points (lifts or "passaggio") within the singer's voice. These different traits are used to identify different sub-types within the tenor voice sometimes referred to as fächer (sg. fach, from German Fach or Stimmfach, "vocal category").

Within opera, particular roles are written with specific kinds of tenor voices in mind, causing certain roles to be associated with certain kinds of voices. Here follows the operatic tenor fächer, with examples of the roles from the standard repertory that they commonly sing. It should be noted that there is considerable overlap between the various categories of role and of voice-type; and that some singers have begun with lyric voices but have transformed with time into spinto or even dramatic tenors. (Enrico Caruso is a prime example of this kind of vocal development.) The categories are: Lirico-Leggiero tenor The male equivalent of a lyric coloratura , this voice is a light lyric instrument,is very agile and is able to perform difficult passages of fioritura. The Lirico-Leggiero tenor has a range of approximately the C one octave below middle C (C3) to the F above tenor C (F5), with some leggiero tenors being able to sing G5 and even higher while maintaining great quality to the sound. Similarly, the lirico-leggiero may be able to sing a little lower than the C3.

The voice is the highest operatic tenor voice and is sometimes referred to as "tenore di grazia". This voice is utilized frequently in the operas of Mozart , Rossini, Donizettiand the highest Baroque repertoire for tenors. Lirico-Leggiero Tenor Roles In Opera & Operettas: Count Almaviva, The Barber of Seville (Rossini) Belmonte, The Abduction from the Seraglio (Mozart) Ernesto, Don Pasquale (Donizetti) Ferrando, Così fan tutte (Mozart) Lindoro, L'italiana in Algeri (Rossini) Nemorino, L'elisir d'amore (Donizetti) Don Ottavio, Don Giovanni (Mozart) Don Ramiro, La Cenerentola (Rossini) Tonio, La fille du régiment (Donizetti) Lirico-Leggiero Tenor Singers: Ferruccio Tagliavini Lyric tenor A warm graceful voice with a bright, full timbre that is strong but not heavy and can be heard over an orchestra.

Lyric tenors have a range from approximately the C one octave below middle C (C3) to the D one octave above middle C with some able to sing up to Eb5 and higher. Similarly, their lower range may extend a few notes below the C3. There are many vocal shades to the lyric tenor group, repertoire should be selected according to the weight, colors,and abilities of the voice.

Lyric Tenor Roles In Opera & Operettas: Alfredo, La traviata (Verdi) Chevalier, Dialogues des Carmélites (Poulenc) David, Die Meistersinger von Nürnberg (Wagner) Duke of Mantua, Rigoletto (Verdi) Edgardo, Lucia di Lammermoor (Donizetti) Elvino, La sonnambula ( Bellini ) Hoffmann, The Tales of Hoffmann ( Offenbach ) Idomeneo, Idomeneo (Mozart) Le Prince Charmant, Cendrillon (Massenet) (when performed by a tenor, originally written for soprano) Lensky, Eugene Onegin (Tchaikovsky) Roméo, Roméo et Juliette (Gounod) Tamino, Die Zauberflöte (Mozart) Wilhelm Meister, Mignon (Ambroise Thomas) Lyric Tenor Singers: Fritz Wunderlich Spinto tenor This voice has the brightness and height of a lyric tenor, but with a heavier vocal weight enabling the voice to be "pushed" to dramatic climaxes with less strain than the lighter-voice counterparts.

(They are also known as "lyric-dramatic" tenors.) Some spinto tenors may have a somewhat darker timbre than a lyric tenor as well, without being as dark as a dramatic tenor. Spinto tenors have a range from approximately the C one octave below middle C (C3) to the C one octave above middle C (C5), and, like the lyric tenors, they are often capable of reaching D5 and sometimes higher. Similarly, their lower range may extend a few notes below the C3. Spinto Tenor Roles In Opera & Operettas: Andrea Chénier, Andrea Chénier (Umberto Giordano) Des Grieux, Manon Lescaut (Puccini) Don Carlos, Don Carlos (Verdi) Don José, Carmen (Bizet) Erik, Der fliegende Holländer (Wagner) Ernani, Ernani (Verdi) Giovanni Zenatello Heldentenor A rich, dark-toned, powerful, and dramatic voice. As its name implies, the Heldentenor (English: heroic tenor) vocal fach features in the German romantic operatic repertoire.

The Heldentenor is the German equivalent of the tenore drammatico, however with a more baritonal quality: the typical Wagnerian protagonist. The keystone of any heldentenor's repertoire is arguably Wagner's Siegfried, an extremely demanding role requiring a wide vocal range, great stamina, and extended dramatic suspension. The Heldentenor has an approximate range from the C one octave below middle C (C3) to the C one octave above middle C (C5). Note that the heldentenor voice possesses tremendous vocal weight. Often the heldentenor is a baritone who has transitioned to this fach or are tenors who have been misidentified as baritones as young singers. Therefore the heldentenor voice may not have facility up to high C, or even high B for that matter; however, the repertoire rarely calls for these top notes. Also, this type of tenor may have more facility in the lower ranges, as he may be able to sing several notes lower than C3.

Heldentenor Roles In Operas & Operettas: Florestan, Fidelio (Beethoven) René Kollo Tenor buffo or spieltenor A tenor with good acting ability, and the ability to create distinct voices for his characters. This voice specializes in smaller comic roles. The range of the tenor buffo is from the C one octave below middle C (C3) to the C one octave above middle C (C5). The tessitura of these parts lies lower than the other tenor roles. These parts are often played by younger tenors who have not yet reached their full vocal potential or older tenors who are beyond their prime singing years. Only rarely will a singer specialize in these roles for an entire career. In French opéra comique, supporting roles requiring a thin voice but good acting are sometimes described as 'trial', after the singer Antoine Trial (1737-1795), examples being in the operas of Ravel and in The Tales of Hoffmann.

Tenor Buffo Roles In Opera & Operettas: Don Basilio, The Marriage of Figaro (Mozart) Mime, Siegfried (Wagner) Don Anchise/ Il Podestà, La finta giardiniera (Mozart) Monostatos, The Magic Flute (Mozart) Pedrillo, The Abduction from the Seraglio (Mozart) Kálmán Zsupán, The Gypsy Baron (Johann Strauss II) Operetta Tenor roles in operettas: All of the Gilbert and Sullivan comic operas have at least one lead lyric tenor character; other notable roles are: Candide (Candide) Camille, Count de Rosillon (The Merry Widow) Prince Karl (The Student Prince) Captain Dick (Naughty Marietta) Baritone | Uncyclopedia | Fandom powered by Wikia Leonard Cohen , king of dirge . World famous baritone Baritone (or barytone) is a type of voice that lies in sin between the bass and tenor voices. It is the most common male voice.

[1] It is a plain, gray, flat, monotonous, dirge -like and not particularly anything type of voice. Some people value its 'warm, resonant' quality, but that resonance is soporific and hypnotic and can lead directly to sleep. Most men possess this vocal range . Contents edit Baritone denial When a man learns that he has a baritone ranged voice, it is usually a traumatic experience as he realizes that he can neither sing high enough or low enough to be of significant value to the music industry. He will then try to convince himself (and the rest of the world) that he is indeed either a tenor or a bass (voice) . Unfortunately, this self-delusion will ultimately fail when he learns that he cannot actually reach those high or low notes; and that his voice is too plain and nondescript to have the appropriate tonal quality required of the other types. However, some baritones refuse to quit the charade. "I'm just so gorgeous, aren't I?" edit Faking it Baritones that want to sing popular music often get frustrated that they have a flat, dull, depressing and boring voice and cannot sing tenor .

So to get around that, they learn to use falsetto and become a David Bowie or Morrissey clone. There are an abundance of fake tenors in the popular music industry as a result of this. Brett Anderson of Suede is another faker; but these fake tenors can't help but to always carry the baritone's signature melancholic underlying essence of doom. And the occasional songs that delve deep into the second octave totally give the game away anyhow. A learned observer can always tell the difference between a tenor and a baritone. Baritones strain at high notes or use blatant falsetto to achieve any, and they simply sound manlier. Tenors have no need for falsetto and have lighter, gayer voices. ? Did you know... ...that wannabe tenors are usually bisexual ? Baritones also try to fake bass (voice) to sound extremely manly by growling bass notes that their ordinary voices fail to sing with any credibility. Baritone growling can be found in the rock music industry as standard. Rob Zombie and Sepultura are examples. This growling is not very effective. It sounds quite fake in comparison with the bass (voice) .

But being a tuneless middle ranged singer is a bit of a tough cookie to swallow. Generally it means that baritones have no natural talent in music. But it won't stop them from faking talent, and this sells to untrained ears that have no idea what falsetto is... edit The Baritone Voice in Music Andrew Eldritch : An accomplished (bass-)baritone Faking aside, baritones have musical opportunities in anything that is depressing. Since they can reach lower notes than the Mc Tenors that overpopulate the charts, they use these lower notes to emphasize their depressive state of mind in a miserable mumble. It is because of this that baritones rule the indie / alternative markets. It seems that baritone dirge appeals most to goths , students , communists and other left wing types. But essentially being a baritone makes you worthless to the musical industry (other then backing up a Bass or Tenor) and no one will be impressed by a voice you have no means of changing. It will also make you the least remembered singer in any performance and no one will discuss you afterwards.

edit Goth is synonymous with baritone As a matter of fact, every single goth band has a baritone singer (with the exception of The Cure ). It is simply statutory. No other vocal type can convey true abject misery, despair and dullness so well. Goth music would never even exist were it not the discovery of the baritone dirge . Leonard Cohen , due to his creation of the entire genre of goth music , is the crowned king of the wrist-slitting dirge , and many others have since followed in his footsteps, people such as Nick Cave , Andrew Eldritch and Carl McCoy of Fields of the Nephilim , abandoning general flat monotonous regular singing in favor of gloom. The baritone voice can sum up a depressive state of mind far better than any other vocal type . It is the fact that it is so monotonous, doomy and gloomy. Baritones make excellent crooners too. Anything that can be complained about, felt unhappy about, or moaned over naturally fits this vocal type. edit Baritones can never sound happy Camilo Sesto , the Spanish drunkard, used to be a tenor , but the drink turned him into a baritone.

And it doesn't sound good, either. Apart from misery, baritones such as Frank Sinatra , Elvis , Jim Morrison , Eddie Vedder and the like attempted to make baritone a happier sort of vocal type. It did not work out, however. "Love me tender" is more of a morose dirge than a love song, "My Way" is about death , Jim Morrison 's songs are actually all really pretty gloomy, and Eddie Vedder simply does not sound happy at all- ever. In fact you would not be wrong in saying that he is a miserable bastard... In fact, the grunge scene of the 1990s was full of miserable bastards; bland, self loathing baritones; and, as a matter of fact, a particularly famous one, Kurt Cobain (see 'Plateau' for proof of his baritone dirge) actually killed himself. In the UK, '90's 'Britpop', the baritone monotony was ever present. Brett Anderson revealed his true gray tones in the song 'Still Life'. The Jesus and Mary Chain was headed by a dreary baritone, as were the (un) Happy Mondays , Pulp , Inspiral Carpets and Blur .

Brian Molko of Placebo makes dirges, as does Coldplay and innumerable other similar dreary bands. Music to make you feel like slitting your wrists to is normally sung by a baritone (unless it happens to be Robert Smith , a tenor , who is excused)... edit The two types of baritone There are two main types of baritone: High baritone or failed tenor such as Morrissey , and low baritone or failed bass (voice) such as Andrew Eldritch . Although Eldritch cannot give a decent low C (C2), his tone is deep enough to award him the title 'bass-baritone' although this is usually given to true basses that have sick vocal ranges. In a choir of 8 parts these two types are called 'tenor 2' (failed tenor) and 'bass 1' (failed bass) respectively; simply because if ordinary choirs had a baritone section, it would be far, far larger than any other section and would drown out all the other singers with flat, monotonous, tuneless dirge .

edit Baritones in classical music Nina Hagen: German female/shemale/hermaphrodite baritone In opera , baritones are nowhere near as highly prized as tenors , however they still get to sing Figaro and the Toreador song; two songs that famously do not rely on high notes, low notes or much of a vocal range; so it isn't utterly hopeless for one to seek an operatic career - but because most men are this vocal type , there is one role for a part for around 8697546837789790789897896785674 applicants - so maybe a career as a goth rock band's frontman would be a better option to consider. edit The other baritone variety There are also, worryingly enough, female baritones. Every once in a while, one encounters women with exceptionally deep, masculine voices - well beyond contralto . These women are actually hermaphrodites and usually arm wrestling champions. They smoke cigars and are usually called Charlie, Sam or anything androgynous like that. They are butch lesbians , cross- dress and probably eat men.

Female baritones are thankfully a rare species in the wild, but their population is higher in women over 40. As a matter of fact, as women age, they do tend to turn into old men; developing hairs on their chests and drinking vodka . 04:05

Question: What male singing voice lies between bass and tenor?
Answer: Baritone